Robert Casadesus’ reputation has faded in the years since his 1972 death, perhaps because his often understated, aristocratic pianism lacked the flashy virtuosity of some of his contemporaries. But the more you hear of his poised playing the more respect turns to affection, as evidenced by the lasting power of his recordings of Ravel and late Mozart concertos, among many others. This CD of Casadesus’ live 1936 and 1938 concerts with John Barbirolli and the New York Philharmonic is a valuable supplement to his studio recordings, notwithstanding the primitive sound. Despite Bryan Crimp’s fine transfers of wretched originals, it’s plagued by swatches of gritty noise, music dropouts in the Mozart and Weber, and audible print-throughs in the Weber and Franck. For hard core historical buffs, this only adds to their charm but the rest of us have to ask whether the performances are worth the trouble. The answer is “yes,” for Casadesus in concert was a more spirited pianist than in the studio. And thanks to Crimp’s ministrations his piano tone has more depth and solidity than on some of his Columbia LPs.
This Mozart Concerto yields to the collaboration with Szell by virtue of a more sharply profiled orchestral contribution but Casadesus “live” sculpts the solo part with technical facility exemplified by beautifully even runs and a firm bass line. The Weber is appropriately sprightly as the pianist and his partner really dig in (listen to Casadesus’ explosive interjection about 10 seconds into the piece and the dazzling cadenza that follows). In the more lushly scored Franck, Casadesus’ studio recording with Ormandy and the Philadelphia Orchestra amply deserves its status as a gramophone classic. But, dated sound aside, this one comes close to matching it. Casadesus’ spare entry at the start is even more poignant than in the later version, and his elaboration of the theme is beautifully done, with gorgeous tone, supple phrasing, and dynamic subtleties galore. Recommended–with the above caveats.
